-
Brain vs Camera
The picture on the left is what the camera saw. The picture on the right is what I had in mind while shooting. Thanks to Photoshop I’ve been able to bend the “objectivity” of the camera along the line of my creativity.
-
Las Ramblas’ Lifestyle
Who cares about pickpockets?
-
Reasonable Privacy Expectation
There is something almost cinematic about this frame. The architecture dominates: a vast façade of marble and glass, its verticality emphasised by the tall, narrow windows, the symmetry broken only by the two small human figures at the bottom. They are dwarfed by the structure, physically and visually, and yet they animate the space just enough to draw our eye away from the grand design and towards the everyday. Compositionally, the image is measured and deliberate. The camera is held level, avoiding converging verticals, which is crucial in architectural photography. The placement of the figures — one ascending the stairs, the other absorbed in a phone — adds a natural,…
-
Which One?
The Abundance’s Paradox
-
Same Seats, Different Lifes
They’re close, but never been so distant
-
The Bodyguard in Red
This frame happened in a square full of motion, but all I saw was this frozen pair: a woman checking a map, and her dog—a small, white, overdressed sentinel—standing squarely on duty. What amused me wasn’t just the dog’s outfit (hood up, leash taut, plaid trim), but the posture. Alert. Angled. Watching the flow of pedestrians like a security detail in fur. I made this image with the intention of isolating a moment within the broader current of urban transit. The pedestrian stream moves left to right—fast, disengaged, anonymous. Meanwhile, the woman and her dog form a perpendicular axis. They’re static. They interrupt the flow. That tension is what holds…
-
Too Busy to Enjoy the Life…
-
Flashes’ Forgotten Powersuits
When I pressed the shutter, I wasn’t chasing irony. It emerged later, in the edit, when I realised this looked less like a street photo and more like a comic panel stripped of its ink—The Flash and Kid Flash mid-sprint, anonymous in civvies, caught in a blur between timelines, rushing to fix a multiverse misstep but forgetting the suits that gave them identity. The angle was deliberate. I tilted the frame to exaggerate imbalance, to underline the diagonal force of movement surging left to right. The grand stairway of Milano Centrale—the actual location—becomes a stage. Lines, shadows, steps: they all stretch and funnel speed. The architecture is static but theatrically…
-
Quality Check. Try Before You Buy
This image was taken outside a Parisian bookstore, a moment as classic as it is current: a man stands in the entrance, thumbing through a photobook, absorbed but casual. It’s not staged—he didn’t even glance at the camera. He was too focused, as anyone who’s spent hours weighing the purchase of one more photography book will understand. His expression wasn’t about doubt; it was about judgment—quality check, plain and simple. The composition offered itself. Framed by the bookstore’s open door, the man becomes the central figure in a visual funnel, surrounded by vertical stacks of books, postcards, and prints. The image flattens space into layered density—foreground filled with titles, background…
-
Mario Asks for it!
The political campaign for the European election is started. This is one of the posters showing the Democratic Party (PD) strategy: fooling the voters into thinking that PD cares about what its constituencies have to say…
-
Street-Photographer’s eye side effect
Seeing the world through the Street-Photographer’s eye makes you more aware of your surroundings both at a conscious and unconscious, Zen-like, level. A side-effect of this state is that you can exploit-it for personal safety when traveling in risky places, like big stations where pickpockets are doing their tricks.
-
Parisian’s Bags
On a brisk afternoon in Paris, the pavements fill with people moving at slightly different speeds, each carrying the traces of their own direction. What drew me to the scene was the convergence of three figures—unrelated to each other yet momentarily aligned—walking toward me with distinct rhythms and expressions. Their presence formed a kind of spontaneous procession, defined not by ceremony but by the simple momentum of city life. The woman on the left moved with purpose, her large green bag swinging in counterbalance to her stride. The scarf softened the sharp lines of her businesslike outfit, adding a touch of looseness to an otherwise structured silhouette. The woman on…
-
Perfect Strangers
This was shot at a crossing in Brussels. Late afternoon, golden hour starting to lean into haze, and the kind of sidelight that makes the most mundane street scenes feel sculptural. I wasn’t looking for a story—I was just following the light. What I got instead was this: two people, frozen in proximity, framed by urban geometry and indifferent routine. They didn’t know each other. That much was clear. No shared glances, no body language suggesting connection. Just two people waiting for the light to change, locked in that brief, suspended moment before movement resumes. But visually, they worked in tandem—her neon green jacket, his mustard ochre coat, both cutting…
-
Skating on Avenue Louise
The architecture of Avenue Louise is built to impress — symmetrical, imposing, wrapped in glass and concrete. It speaks the language of power, efficiency, and institutional gravitas. Yet here, cutting across the uniformity of its grid, a lone skateboarder defies gravity and symmetry alike. In mid-air, suspended between takeoff and landing, the young skater rewrites the function of space. This plaza wasn’t designed for movement like his — spontaneous, raw, unruly — yet it hosts it with unexpected grace. The stark concrete façade becomes a backdrop, not a boundary. This is the city as canvas, the act of skating as resistance and reinterpretation. While others walk briskly from meeting…
-
Breakfast at Rue Brisemiche
-
Mid-Morning Break at Place Jourdan
-
Early Leave at Bruxelles-Midi
-
Walking Table in via Cornaggia
Via Cornaggia in Milan is not a place one usually associates with humour in photography, yet this image carries an almost surreal tone. A man strides down the cobblestone street, carrying a table on his shoulders, its legs pointing skyward like some awkward sculpture. His face is completely obscured, leaving only body language and context to speak for him. The everyday act of transporting furniture becomes, in this frame, an absurd visual gesture. The narrow perspective of the street enhances the composition. The converging lines of the walls and cobbled path guide the eye directly to the man, amplifying his centrality within the scene. The geometry of the table mirrors…
-
Hard Choice In Quai de la Corse
I made this frame near Île de la Cité, on Quai de la Corse—one of those places where the mundane and the picturesque casually coexist. What first drew my attention wasn’t the postcard rack, but the slight choreography unfolding around it. Two figures—clearly together, maybe tourists or locals revisiting the familiar—stood split by the display, momentarily anonymised by a turnstile of nostalgia. That was the hook: a photo of people concealed by the very thing designed to represent their surroundings. The irony held my attention long enough to lift the camera. I composed the shot with that in mind. The vertical rack bisects the frame precisely, interrupting the couple’s presence…
-
Is This Photo Illegal?
Yes, if it were taken in Hungary. Against the European Convention of Human Rights, Hungary passed a law that by next March 15 will require any photographer shooting in public space to obtain a signed “model release form”. This provision will be bashed by either the EU Court of Justice or the European Court of Human Rights (for the very same reasons I explained here), but it will take time and – first of all – a photographer that sacrifices himself on the altar of freedom.
-
Relaxed Call at Boulevard du Palais
Paris lends itself so well to moments of quiet theatre, and this image captures one of those understated urban vignettes — a waiter leaning against a doorway, mid-call, somewhere between duty and a fleeting pause. The scene’s composition is clean and deliberate. The vertical symmetry of the architecture — the heavy wrought-iron window on the left, the dark panelled doors on the right — creates a structured backdrop that frames the human subject without overpowering him. The soft patina of the stone façade carries a sense of history, its muted tones setting off the crisp whites of the waiter’s apron and shirt. His black vest and bow tie anchor him…
-
Lost in Another World
Bruxelles, late afternoon. The light was fading, but not fast enough to kill the warmth spilling across the stone. I was walking the perimeter of the European Quarter when I caught this boy, not moving, not restless—just elsewhere. Legs crossed, Red Bull in the shade of his knee, a pair of thick-cushioned headphones pulling his attention far from the buses trundling behind him. The city was loud, but he was silent. I framed him against the soft curve of the road, letting the concrete bench anchor the composition. The wall bisects the image cleanly, dividing the raw street texture from his calm, introspective stillness. He became part of the architecture—concrete,…
-
Stylish
-
Still Standing
